Nina Dubin. Review of "Visualizing the Revolution: Politics and Pictorial Arts in Late Eighteenth-Century France" by Hubertus Kohle and Rolf Reichardt.

By writing about the late eighteenth-century revolution which led to the East India Company rule, members of a largely Muslim pre-colonial administrative elite in eastern India sought take control over their own history. They explained the society and ancien régime of India, as well as themselves, to the new British rulers for whom they worked. In so doing, they strove to inform and guide the new British colonial authorities into employing them in the new administration as well as into valuing the cultural mores and bureaucratic experience which they embodied. They also wrote introspectively for the own class, trying to understand the causes of the revolution that had displaced their own traditional rulers and themselves with rule by Europeans and administrations staffed increasingly by Indians with backgrounds different from their own.

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Visions of Medea: Musico-dramatic transformations of a myth

Cambridge Opera Journal ◽

10.1017/s0954586700004201 ◽

1994 ◽

Vol 6 (2) ◽

pp. 113-124 ◽

Cited By ~ 1

Author(s):

Paolo Russo

Keyword(s):

Nineteenth Century ◽

Eighteenth Century ◽

Spoken Dialogue ◽

Late Eighteenth Century ◽

Opera Seria ◽

Late Eighteenth ◽

Early Manifestation ◽

The Revolution

On 13 March 1797, Cherubini's Médée was given its première at the Théâtre Feydeau in Paris. The opera was designed to be a tragédie lyrique with all the trappings: only the hostility directed towards young composers (Cherubini, but also Méhul and Le Sueur) during the Terror and the Directory had prevented its performance at the city's first theatre, the Académie Royale de Musique (briefly re-christened the Théâtre de la République et des Arts after the Revolution). Although Cherubini's opera followed the conventions of opéra comique (most important, of course, the use of spoken dialogue), it also bore significant traces of late eighteenth-century opera seria dramaturgy. This generic eclecticism placed Médée in the midst of an aesthetic tangle, an early manifestation of nineteenth-century opera's strained but still powerful connection to eighteenth-century conventions.

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HOW TO WRITE ABOUT INFLUENCE: ASSESSING EDMUND BURKE'S CONSERVATIVE LEGACIES

The Historical Journal ◽

10.1017/s0018246x19000347 ◽

2019 ◽

Vol 63 (2) ◽

pp. 495-505

Author(s):

CLAIRE RYDELL ARCENAS

Keyword(s):

Eighteenth Century ◽

French Revolution ◽

Edmund Burke ◽

The Sublime ◽

Late Eighteenth Century ◽

Late Eighteenth ◽

Open Question ◽

The French Revolution ◽

The Revolution

Edmund Burke is difficult to classify. Born in Ireland in 1730, he entered parliament in 1765 having already achieved literary distinction for several philosophical works, including On the origins of the sublime and beautiful (1757). His subsequent career as a Whig statesman, politician, and reformer spanned the tumultuous decades of the late eighteenth century and culminated, less than a decade before his death, in his famous polemic against the French Revolution, Reflections on the revolution in France (1790). Over the course of his life, Burke opined with such frequency on so many topics that the nature of his ‘philosophy’ remains an open question, and scholars continue to offer strikingly different interpretations of his life and legacies. ‘Burke's legacy to history’, historian Richard Bourke summarized, ‘has been a complicated affair’.

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